I was hoping to have posted something sooner about Talent Wants to be Free. But the book was so thought-provoking for me that I ended up reading a part of it, putting it aside to think about what I had read, and then reading some more. So it took me a while to get through the entire book – but that’s an indication of how much valuable information there is in it, and how smartly it’s written.

I’ve just finished reading David Epstein’s excellent book The Sports Gene, a fascinating exploration of the research on genetic and physiological factors that may contribute to exceptional athletic performance. Ironically, I got the book only a few weeks before I saw the fascinating Alex Gibney documentary The Armstrong Lie, which was intended to be about Lance Armstrong‘s 2009 return to competitive cycling in the Tour de France, but instead ended up being about Armstrong’s secret use of performance-enhancing drugs. Clearly anyone who takes PEDs is trying to gain a physiological advantage in competition, but watching Armstrong’s behaviour in the film made me wonder about another factor in exceptional athletic performance: (more…)

The “10,000 hour rule” – the idea that 10,000 hours of practice is the amount needed to excel in an activity, as described in Malcolm Gladwell’s 2008 book Outliers – has been getting more attention than usual recently. The attention is partly because of the release of Gladwell’s new book, David and Goliath, but it’s also because of the discussion of the rule in another new book – The Sports Gene, by former Sports Illustrated senior writer David Epstein. In his investigation of what leads to outstanding athletic performance, Epstein points out some contradictions to Gladwell’s rule – for example, that athletes at the same level of competition can have very different amounts of practice time or playing experience, and that success in sports isn’t determined only by how much an athlete practices.

Randall Sullivan’s Untouchable: The Strange Life and Tragic Death of Michael Jackson was released in November of last year. It’s an epic piece of work – 776 pages long, including nearly 175 pages of references – and it got some less-than-positive reviews, including the New York Times, which called it “dreary”, “bloated”, and “thoroughly dispensable”. I just finished reading it, and I think it deserves much more credit than that, because it’s a remarkable work on several levels. Sullivan has constructed an extremely complex narrative that is more than a biography – it’s also a very sobering look at how the music business operates. And it’s an excellent case study in how writers can manage challenging or difficult source material.